As part of his painting process, Doganoglu often conducts photo sessions with live models, recreating poses and compositions inspired by vintage gay pornographic magazines from the 1970s. “Undershirt”, with the oddly shaped, lifted white t-shirt exposing a male torso, replicates the specific aesthetics found in the poses of such magazines, signaling an erotic exposure of flesh in tension with a stretched piece of fabric, itself echoing the partial view the canvas allows. Spilling beyond the confines of the canvas, endowed with an erotic power that lingers, the movement between fragments depicted here partakes in an undeniable expression of desire. In the essay he penned for Doganoglu’s exhibition, John Brooks notes that the muscular, hirsute chest in Doganoglu’s ‘Undershirt’, along with the use of pink, peach, white and mauve undertones, is reminiscent of American modernist painter Marsden Hartley’s (1877-1943) shirtless male figures, while his depiction more closely resembles reality.